There are strange parallels in the lives of Gioachino Rossini and Michael Jackson.

In their respective lifetimes, they were musical heroes of the masses, kings of the popular song. No other musicians – not even Beethoven – could claim their celebrity. They even premiered their masterpieces at the age of 24.

But to compare the kings of popular music: While Jackson’s “Thriller” album remained atop billboards for an impressive 37 weeks and is still the best-selling of all time, “The Barber of Seville” continues to astound in its 200th year as one of the most enduring, dependable opere buffe ever written.

Saturday at the California Theater production by Opera San Jose was no different. At the end of what had to be one of the longest, most confusing weeks for many in the Bay Area and around the country, it was not one brilliant woman, but two, who lifted our spirits, brought order to things and with their various talents, inspired us to hope.

With the strength of Layna Chianakas’ direction and the resplendent singing and acting of mezzo-soprano Renée Rapier, we were astounded by the quality of this production.

Make no mistake: the men in this cast were brilliant, too.

Beginning with baritone Brian James Myer as Figaro, the title character, I have rarely seen an actor of such charisma and agility. Myer’s unwavering charm and energy stole nearly every scene he was in, and with tremendous breath control, projection and clarity of diction, he navigated the octave leaps and challenges of his opening cavatina “Largo al factotum” with conviction. Never was Myer tiresome or beyond the scope of his multidimensional character.

As Almaviva, resident tenor Kirk Dougherty was dependable. Dougherty sings with his heart on his sleeve, always, and “Ecco ridente in cielo”, with its vast runs and roulades, was a pleasure to hear. As Bartolo, bass-baritone Valerian Ruminski commanded respect while being the funniest character of the evening. He offered powerful lyricism amid a sea of rapid fire passages in “A un dottor della mia sorte”.

But at the end of the day, it is Rapier that people should listen to. The mezzo has appeared with the San Francisco and Los Angeles opera companies, but as one knowledgeable audience member remarked, “She could sing this role on any stage in the world”.

Rapier’s seamless portrayal of Rosina’s ambiguous qualities was buttressed by a unified, blistering vocal technique that students can appreciate. From “Una voce poco fa”, colors and ornaments were meticulously placed and musically satisfying. Her ravishing tone in “Contro un cor che accende amor”, traveled the ends of the hall, even throughout, and her duet with Myer, “Dunque io son”, was nothing short of resplendent.

I was impressed by the humor in Rossini’s music, how it translates seamlessly from generation to generation. The trio, “Ah, qual colpo inaspettato”, was executed marvelously, and Chianakas deserves ample praise for both her vision for such scenes and for weaving it all together.

Upon an encounter in Paris, composer Felix Mendelssohn noted, “I really know few men who can be so amusing and witty as he… intellect, animation and wit, sparkle in all his features and in every word”. In a nutshell, that was how Saturday’s performance of Rossini felt.

In Pierre Beaumarchais’ play, on which Rossini’s opera is based, the title character remarks, “I force myself to laugh at everything, for fear of having to weep”. If laughter is the best medicine in these strange times, go and see this production. There may be just enough demand from people who need an extra dose or two to push this production to 37 weeks.